Tropical ginsberg

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62 The first phase of the Cinema Novo (1960-1964) predominantly focused on underdeveloped issues, usually depicting Brazilian daily life (Vidas Secas from 1963), and mythological Northeastern Brazilian figures (Deus e o Diabo na Terra do Sol from 1964). The second phase (1964-1968) was marked by a strong criticism against Brazilian developmental policy that began with Juscelino Kubitschek, and now flourished abundantly with the dictatorship; it was in this second phase that the film Terra em Transe was made. Terra em Transe marks a new beginning for Glauber Rocha, as it is completely different from his previous movies like Barravento (1961), and Deus e o Diabo na Terra do Sol (1964), which were filmed in the Northeast (agreste), and with precarious conditions, whereas Terra em Transe was filmed in Rio de Janeiro, and Glauber had more budget to do it. Terra em Transe ventured even more into this new artistic avantgarde realm that was beginning to burst in the mid-1960s in Brazil. The film’s narration is fragmented to a point where we cannot quite distinguish what is past, future, or present; leaving us in a “perpetual present” 131 There is absolutely no central point-of-view in the story which does not revolve around one main character, as the spectator is even confronted with conflicting points-of-view. The film manages to overcome the visual and auditory confinement of traditional cinema, as it is possible to hear something completely dissonant from that which we see, i.e., we hear machine guns firing, yet see two people having some sort of discussion, some scenes repeat themselves, almost in an oneiric déjà vu. It is a somewhat giant woven slip of framed pictures. As Ismael Nery suggests, Terra em Transe represents simultaneously diverse roles of the undiscovered Brazil, colonized Brazil, military dictatorship Brazil, and underdeveloped third world Brazil. The film shows the trajectory of the jornalist-poet with political aspirations, Paulo Martins (played by actor Jardel Filho). The starting point of the film is a sort of delirium Paulo is having seconds before his death. The chronology that follows that delirium is all but sane or classical, switching time perspectives, points-of-view, and forms of narration. We witness fragments of Martins’ life, from the dawn of his career, where he makes an alliance with politician Porfírio Diaz (played by Paulo Autran), notorious reactionary, up to his death, the only classical form of narration of the entire film, where the story trails its full-circle, and comes back to where it started. Paulo Martins permeates 131 Sanches, Pedro Alexandre. <strong>Tropical</strong>ismo Decadência Bonita do Samba. São Paulo: Editora Bomtempo, 2000. 40.
all political positions: right, when he associates himself with Diaz, left, when he associates himself with Felipe Vieira, played by José Lewgoy, and even anarchic, when he decides to break loose from everything and everyone, knowing that he could no longer adapt to living in the new Eldorado (ficticious place where everything happens), and drives his car through a military barricade, where he is shot. 63 Terra em Transe é, pois, político do fim ao começo. Passa a limpo a história republicana do Brasil (e não só ela: conquistadores europeus [...] índios, primeira missa, união da América Latina e ditadores latino-americanos desfilam pelo filme). 132 According to Sanches, 133 the film’s characters allegorically represent such political figures as Carlos Lacerda (Porfírio Diaz), Miguel Arraes (Felipe Vieira), Getúlio Vargas (Porfírio Diaz), and Leonel Brizola (Felipe Vieira), even the military leaders (Porfírio Diaz). The film’s narrative, of conflicting points-of-view, with a constant juxtapositioning of unrelated images, following no apparent chronology, became the solid basis for many songs of the <strong>Tropical</strong>istas. 5.4 Theatre: Jose Celso Martinez Corrêa’s O Rei da Vela Pois com o consumo não só se vende o produto, mas também se compra a consciência do consumidor. (José Celso Martinez Corrêa, 1968) 134 During the 1950s, Brazilian theatre seemed to be trickling to São Paulo, where two major theatre companies – Teatro Brasileiro de Comédia (TBC), 135 and Teatro de Arena (Arena) 136 – were producing the best plays, with the best actors, directors, crew, and equipment. TBC was founded by the entrepreneur Franco Zampari, in 1948. Zampari 132 Ibid. 39. 133 Ibid. 36-38. 134 Coelho, Frederico, and Cohn, Sergio Tropicália. Rio de Janeiro: Beco do Azogue, 2008. 63. 135 Brazilian Theatre of Comedy. 136 Arena Theatre.
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UNIVERSIDADE FEDERAL DE SANTA CATAR
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2 Catalogação na fonte pela Bibli
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4 To the Empress, for reasons far b
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6 ABSTRACT Through a dialogical rel
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8 TABLE OF CONTENTS CHAPTER I Intro
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10 Although Tropicália coalesced a
Page 14 and 15: 12 America people began to change t
Page 16 and 17: 14 CHAPTER II Defining Concepts The
Page 18 and 19: 16 poetry as a new “revolutionary
Page 20 and 21: 18 definida, o tropicalismo introdu
Page 22 and 23: 20 by contemporary international tr
Page 24 and 25: 22 relationship to the object (for
Page 26 and 27: 24 way, or no way. Americans entere
Page 28 and 29: 26 grounds of the world became even
Page 30 and 31: 28 did not want to risk a major con
Page 32 and 33: 30 3.4 Global Dominance Race Begins
Page 34 and 35: 32 Minh’s army, and a cease fire
Page 36 and 37: 34 However, America’s success was
Page 38 and 39: 36 As Kennedy was commemorating 100
Page 40 and 41: 38 that could not be asked, neither
Page 42 and 43: 40 and now controlled its will. For
Page 44 and 45: 42 States. To oppose war meant that
Page 46 and 47: 44 Alongside Day on all her struggl
Page 48 and 49: 46 economic, and political. Even th
Page 50 and 51: 48 bourgeois or aristocrats.” 97
Page 52 and 53: 50 Finally, there is also the biogr
Page 54 and 55: 52 Mass media was then a promising
Page 56 and 57: 54 them - proved to be quite a “n
Page 58 and 59: 56 later be summed up on Médici sl
Page 60 and 61: 58 between the artists prevailed ab
Page 62 and 63: 60 Oiticica’s art and ideas were
Page 66 and 67: 64 imported distinguished directors
Page 68 and 69: 66 artists of the highest caliber m
Page 70 and 71: 68 songs of protest. The music itse
Page 72 and 73: 70 instruments, and singers’ voic
Page 74 and 75: 72 could have imagined that that se
Page 76 and 77: 74 “repente” 166 of Tom Zé, co
Page 78 and 79: 76 However, the onus of this mass a
Page 80 and 81: 78 Deslocar a arte do espaço no qu
Page 82 and 83: 80 Ginsberg and other beat writers,
Page 84 and 85: 82 for older poets, but it was exac
Page 86 and 87: 84 like Vicente Celestino, 193 Catu
Page 88 and 89: 86 their poetry and songs. The atom
Page 90 and 91: 88 “macumba.” In both cases the
Page 92 and 93: 90 connection, only a stream of wil
Page 94 and 95: 92 6.4. Poetic Bodies in Action The
Page 96 and 97: 94 artists of the time were ignorin
Page 98 and 99: 96 of the cool youth of the United
Page 100 and 101: 98 which would bring freedom and ju
Page 102 and 103: 100 into myths, Caetano repeatedly
Page 104 and 105: 102 wrong to consider such artists
Page 106 and 107: 104 Americans of the 1950s as a nob
Page 108 and 109: 106 Primary Sources REFERENCE LIST
Page 110 and 111: 108 Chomsky, Noam, and Herman, Edwa
Page 112 and 113: 110 Mendes, Murilo. “Pirâmide,
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112 U.S. Department of State Online
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114 lightning in the mind leaping t
Page 118 and 119:
116 who howled on their knees in th
Page 120 and 121:
118 who were burned alive in their
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120 and who therefore ran through t
Page 124 and 125:
122 Breakthroughs! over the river!
Page 126 and 127:
124 “America” America I've give
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126 Bloor made me cry I once saw Is
Page 130 and 131:
128 “Sunflower Sutra” I walked
Page 132 and 133:
130 So I grabbed up the skeleton th
Page 134 and 135:
132 The warm bodies shine together
Page 136 and 137:
134 “Batmacumba” Batmakumbayêy
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136 “Geleia Geral” Um poeta des
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138 Sem lenço sem documento Nada n
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